scholarly journals Where flesh meets bone: dance in the modern art museum

2021 ◽  
Author(s):  
Erin Joelle McCurdy
Keyword(s):  
New York ◽  
Modern Art ◽  
Theoretical Framework ◽  
Art Museum ◽  
Art Museums ◽  
The Public ◽  
Liminal Spaces ◽  
High Profile ◽  
Tate Modern ◽  
Definition Of

Dance has recently taken up an increasing presence in major modern art museums as core curatorial programming, occupying galleries throughout exhibition hours. Although time figures prominently in emerging literature addressing this trend, spatial analyses remain fragmentary. Yet, dance is distinctive from other time-based media because of its heightened relationship with space. This raises an important question: how does dance’s newfound presence ‘re-choreograph’ the spaces of modern art museums? Extending the work of Henri Lefebvre, this dissertation adopts an expanded definition of museum space encompassing physical, social and conceptual domains. Dance, an art concerned with the shaping of space, is examined as a transformative force, productively intervening with the galleries, encounters, objects, and historical narratives comprising modern art museum space. In this study, purity and atemporality are identified as the preeminent principles organizing modern art museum space, and dance, an ‘impure’ and process-based art, is theorized as a productive contaminant, catalyzing change. Using this theoretical framework and Using this theoretical framework and evocative descriptions of Boris Charmatz’s 20 Dancers for the XX Century (Museum of Modern Art, New York, 18-20 October 2013), dance’s unique collaboration with modern art museum space is analyzed. Socially, dance’s multisensuality pollutes museum goers’ ocularcentric experiences with art. Conceptually, dance diversifies understandings of objects and the androcentric history they uphold. Physically, dance is carving out new spaces, with performance venues being incorporated into the ‘bones’ of high profile institutions. Interspersed between these analytical chapters, evocative descriptions of Spatial Confessions (On the Question of Instituting the Public) by Bojana Cvejić and collaborators (Tate Modern, London, 21-24 May 2014) introduce observations beyond the analytical scope, opening up the liminal spaces of this document to ongoing inquiry. This dissertation contributes a sustained analysis of dance’s spatial impact on modern art museums. By investigating how dance intervenes with the limitations of the white cube, it critiques this supposedly ‘blank’ space, questioning its continued supremacy within these institutions. Moreover, as dance is ushered into performance venues within the museum’s expanding domain, this dissertation interrogates the modern propensity for specialization and master narratives pervading the spaces of these institutions, despite decades of interventional artistic and curatorial practices.

scholarly journals Where flesh meets bone: dance in the modern art museum

2021 ◽  
Author(s):  
Erin Joelle McCurdy
Keyword(s):  
New York ◽  
Modern Art ◽  
Theoretical Framework ◽  
Art Museum ◽  
Art Museums ◽  
The Public ◽  
Liminal Spaces ◽  
High Profile ◽  
Tate Modern ◽  
Definition Of

Dance has recently taken up an increasing presence in major modern art museums as core curatorial programming, occupying galleries throughout exhibition hours. Although time figures prominently in emerging literature addressing this trend, spatial analyses remain fragmentary. Yet, dance is distinctive from other time-based media because of its heightened relationship with space. This raises an important question: how does dance’s newfound presence ‘re-choreograph’ the spaces of modern art museums? Extending the work of Henri Lefebvre, this dissertation adopts an expanded definition of museum space encompassing physical, social and conceptual domains. Dance, an art concerned with the shaping of space, is examined as a transformative force, productively intervening with the galleries, encounters, objects, and historical narratives comprising modern art museum space. In this study, purity and atemporality are identified as the preeminent principles organizing modern art museum space, and dance, an ‘impure’ and process-based art, is theorized as a productive contaminant, catalyzing change. Using this theoretical framework and Using this theoretical framework and evocative descriptions of Boris Charmatz’s 20 Dancers for the XX Century (Museum of Modern Art, New York, 18-20 October 2013), dance’s unique collaboration with modern art museum space is analyzed. Socially, dance’s multisensuality pollutes museum goers’ ocularcentric experiences with art. Conceptually, dance diversifies understandings of objects and the androcentric history they uphold. Physically, dance is carving out new spaces, with performance venues being incorporated into the ‘bones’ of high profile institutions. Interspersed between these analytical chapters, evocative descriptions of Spatial Confessions (On the Question of Instituting the Public) by Bojana Cvejić and collaborators (Tate Modern, London, 21-24 May 2014) introduce observations beyond the analytical scope, opening up the liminal spaces of this document to ongoing inquiry. This dissertation contributes a sustained analysis of dance’s spatial impact on modern art museums. By investigating how dance intervenes with the limitations of the white cube, it critiques this supposedly ‘blank’ space, questioning its continued supremacy within these institutions. Moreover, as dance is ushered into performance venues within the museum’s expanding domain, this dissertation interrogates the modern propensity for specialization and master narratives pervading the spaces of these institutions, despite decades of interventional artistic and curatorial practices.

Barr, Alfred H. Jr. (1902–1981)

2018 ◽  
Author(s):  
Antoniette M. Guglielmo
Keyword(s):  
New York ◽  
Modern Art ◽  
Art Museum ◽  
Board Of Trustees ◽  
Abstract Art ◽  
Museum Of Modern Art ◽  
The Public ◽  
Founding Director ◽  
Architecture And Design ◽  
Film And Video

Alfred H. Barr, Jr. was an art historian and the founding director of the Museum of Modern Art (MoMA) in Manhattan, New York, from 1929 to 1943. Upon assuming his post at the museum in August 1929, Barr proceeded to establish the institution as America’s first and premiere museum devoted exclusively to modern art. His vision involved developing an intellectual foundation for the development of modern art and popularizing it for the public. As part of this work, Barr created new collection areas not previously conceptualized as part of an art museum, such as film and video, photography, architecture and design, and industrial art. Barr conceptualized a canon for the development of modern art and the origins of abstraction, diagramming it in the exhibition catalog Cubism and Abstract Art (1936). During his tenure, he organized more than 100 exhibitions largely focused on European modernism. Barr was dismissed as Director in 1943 by the chairperson of MoMA’s board of trustees, but stayed involved with MoMA in various capacities until 1968.

Feminist Interpretations of Action and the Public in Hannah Arendt’s Theory

2020 ◽  
Vol 65 (Special Issue) ◽  
pp. 87-103
Author(s):  
Noémi Bíró
Keyword(s):  
Human Activity ◽  
Political Thought ◽  
Hannah Arendt ◽  
Political Action ◽  
Theoretical Framework ◽  
Public Realm ◽  
The Public ◽  
The Social ◽  
Social Feminism ◽  
Definition Of

"Feminist Interpretations of Action and the Public in Hannah Arendt’s Theory. Arendt’s typology of human activity and her arguments on the precondition of politics allow for a variety in interpretations for contemporary political thought. The feminist reception of Arendt’s work ranges from critical to conciliatory readings that attempt to find the points in which Arendt’s theory might inspire a feminist political project. In this paper I explore the ways in which feminist thought has responded to Arendt’s definition of action, freedom and politics, and whether her theoretical framework can be useful in a feminist rethinking of politics, power and the public realm. Keywords: Hannah Arendt, political action, the Public, the Social, feminism "

The Continuing Problem of Special Districts in American Government

2011 ◽  
Vol 11 (1) ◽  
pp. 52-67 ◽  
Author(s):  
Larita Killian
Keyword(s):  
New York ◽  
Local Governments ◽  
Census Bureau ◽  
Three Dimensions ◽  
The Public ◽  
Reporting Practices ◽  
Special Districts ◽  
Theoretical Perspectives ◽  
Policy Alignment ◽  
Definition Of

ABSTRACT Due to fiscal constraints and demands for increased accountability, scholars and public officials are reviewing the structure and reporting practices of local governments. These efforts are often incomplete, however, because they bypass special districts, which now comprise over 40 percent of all local governments. The proliferation of special districts has the potential to increase government costs, redirect the allocation of scarce resources, remove debt and expenditure practices from the public eye, and reduce democratic controls over elected officials. This paper highlights some of the public interest concerns related to these entities to inform future, localized research. For decades, scholars have approached special districts from two opposing theoretical perspectives: institutional reform and public choice. Literature from these opposing perspectives is used to analyze special districts along three dimensions: efficiency and economy of operations, policy alignment and allocation of resources, and democratic accountability. This paper uses the U.S. Census Bureau definition of special districts, though alternative definitions are discussed. Efforts by four states (Florida, Pennsylvania, Indiana, and New York) to improve local government, and their varying approaches to special districts, are reviewed, leading to the conclusion that the complex issues related to special districts must be resolved within state contexts.

Diversity, Equity, and Inclusion (DEI) Statements in the U. S. Creative Sector: Progress, or More Bullshit?

2021 ◽  
Vol 5 (2) ◽  
pp. 33-46
Author(s):  
Antonio C. Cuyler
Keyword(s):  
Content Analysis ◽  
Research Question ◽  
Theoretical Framework ◽  
Status Quo ◽  
Arts Organizations ◽  
The Public ◽  
Cultural Organizations ◽  
The Status ◽  
Definition Of ◽  
Equity And Inclusion

This article represents a snapshot and analysis of U. S. service arts organizations’ DEI statements and activities in 2018. At that time, many primarily White-serving U. S. cultural organizations responded defensively to accusations of elitism and a harmful rigged funding system that maintained the status quo by awarding most cultural funding to these organizations while undermining the health and vitality of cultural organizations by and for historically oppressed communities (Sidford, 2011). Furthermore, Helicon Collaborative (2017) found that even with a host of cultural equity, “diversity” projects (Tseng 2016), and public-facing DEI statements, little had changed within six years. Therefore, this study uses directed and summative content analysis to investigate the research question “what do cultural equity and diversity statements communicate about cultural organizations’ positions on DEI?” This study also uses Frankfurt’s (2005) essay On Bullshit and Laing’s (2016) two-prong definition of accountability as a theoretical framework to examine if and how cultural organizations hold themselves accountable for achieving DEI in the creative sector. Lastly, readers should keep in mind that the public murder of Geor-ge Floyd in 2020 has hastened all of the service arts organizations’ access, diversity, equity, and inclusion (ADEI) work examined in this study.

Transformations (1979–1984)

Wendy Carlos ◽  
2020 ◽  
pp. 123-150
Author(s):  
Amanda Sewell
Keyword(s):  
New York ◽  
New York Times ◽  
Advisory Board ◽  
Professional Relationship ◽  
Symphony Orchestras ◽  
The Public ◽  
High Profile ◽  
Digital Synthesis ◽  
First Time

This chapter addresses the first few years after Carlos returned to the public eye, which included high-profile projects such as the soundtracks to the films The Shining and TRON. She also gave interviews to the New York Times and Keyboard magazine, the latter of which also installed her on its advisory board. This was a period of several changes in Carlos’s life. She and Rachel Elkind ended their personal and professional relationship, she began what would be a lifelong relationship with Annemarie Franklin, she began using digital synthesis instead of analog, and she worked with symphony orchestras for the first time.

scholarly journals Regulation, Registration and Social Work: An International Comparison

2019 ◽  
Vol 50 (2) ◽  
pp. 308-325 ◽  
Author(s):  
Aidan Worsley ◽  
Liz Beddoe ◽  
Ken McLaughlin ◽  
Barbra Teater
Keyword(s):  
New York ◽  
Social Work ◽  
Case Studies ◽  
Primary Objective ◽  
The Public ◽  
The Social ◽  
The Usa ◽  
Definition Of ◽  
And Function ◽  
Role And Function

Abstract The anticipated change of social work regulator in England from the Health and Care Professions Council to Social Work England in 2019 will herald the third, national regulator in seven years for the social work profession. Social Work England will be a new, bespoke, professionally specific regulator established as a non-departmental public body with a primary objective to protect the public. Looking globally, we can observe different approaches to the regulation of the social work profession—and many different stages of the profession’s regulatory journey between countries. Using a comparative policy analysis approach and case studies, this article looks more closely at three countries’ arrangements and attempts to understand why regulation might take the shape it does in each country. The case studies examine England, the USA (as this has a state approach, we focus on New York) and New Zealand, with contributions from qualified social work authors located within each country. We consider that there are three key elements to apply to analysis: definition of role and function, the construction of the public interest and the attitude to risk.

scholarly journals Liminal Publics, Marginal Resistance

IDEA JOURNAL ◽  
2017 ◽  
pp. 88-101
Author(s):  
Menna Agha ◽  
Els DeVos
Keyword(s):  
Built Environment ◽  
Public Space ◽  
Public Spaces ◽  
The Novel ◽  
Public And Private ◽  
Spatial Justice ◽  
The Public ◽  
Liminal Spaces ◽  
Private And Public ◽  
Definition Of

In 1964, indigenous Nubians were displaced from their original land – the land between what is now Egypt and that of Sudan – to modernised settlements built by the Egyptian state. The Nubians dissatisfaction with the novel built environment translated into transgressive public spaces. One of the most common transgressions was the addition of an external bench called Mastaba. Since power relations between men and women have changed, the built environment now acts as a catalyst in the exclusion of women from formal public spaces such as conventional coffee shops and squares. Mastabas function as liminal spaces, spaces which blur the boundaries between public and private spheres. As these spaces do not suit the formal understanding of public spaces, we investigate these liminal spaces in order to reveal the spatial tactics of the marginal. We argue that the existence of these spaces raises issues of spatial justice and spatial resistance.    The behaviour of liminal public spaces varies; they have the ability to transform adjacent spaces. This research investigates the role of the Mastaba in opening up the public space for women, thereby giving them the ability to contribute to the writing of their social contract. We base our analysis on extensive fieldwork, consisting of auto-ethnographic observations and participation, informed by a feminist epistemology. We use tools of spatial analysis to explore an alternative public space offered by liminality. To question the binary notions of private and public space, we ask ourselves: where does that space start? As spatial professionals, we also wonder: can we contest the hegemonic definition of public space and contribute to spatial resistance? Drawing lessons from the case of the Mastaba, we propose contingencies for designing the liminal that serve the marginal.

Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936–1943)

2021 ◽  
Vol 10 (1) ◽  
pp. 2-25
Author(s):  
Dieter De Vlieghere
Keyword(s):  
New York ◽  
Modern Art ◽  
Fine Arts ◽  
Art Museum ◽  
Museum Of Modern Art ◽  
Art World ◽  
Outsider Art ◽  
Creative Agency ◽  
Changing Role

Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

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